At Comic-Con yesterday, MTV announced the pick-up of a third season of its hit drama series “Teen Wolf.” Season three will feature 24 episodes, double the number of its first and second seasons, and will shoot in Los Angeles. This unprecedented pick-up marks the first time an MTV primetime scripted series has been renewed for a third season and the largest episode order in the scripted category to date.
“Teen Wolf” was developed by Jeff Davis (creator, “Criminal Minds”) who also serves as executive producer. The pilot was written by Jeff Davis and Jeph Loeb & Matthew Weisman and directed by Russell Mulcahy. The “Teen Wolf” series is based on a screenplay by Jeph Loeb & Matthew Weisman.
“Teen Wolf” was the #1 show in its time period among teens during its season one run, and has continued to reign in the demo throughout the second season. The series currently ranks as the #1 series across all TV in its time period among the key P12-34 demo, and draws 1.8 million total viewers each week. The series ranks as one of the most social shows on cable, according to Trendrr, and, in addition, is seeing triple digit gains in both Facebook and Twitter engagement. (And you thought ratings were all that mattered. Sheesh!)
Know what usually happens when you ask the star about his/her new show? He/she/they tell you all about themselves. (No, not their character, themselves.) Do you suppose that’s gonna happen here?
Eric McCormack Talks About His New TNT Procedural, PERCEPTION
by Christina Radish
The unique TNT crime-solving drama Perception follows the life of Dr. Daniel Pierce (Eric McCormack), an eccentric neuroscience professor with paranoid schizophrenia who is recruited by the FBI to help solve complex cases. Although he struggles with hallucinations and paranoid delusions, FBI agent and Pierce’s former student, Kate Moretti (Rachael Leigh Cook), is willing to look past Daniel’s peculiarities and utilize his uncanny ability to see patterns and look past people’s conscious emotions to see what lies beneath. The show also stars Arjay Smith andKelly Rowan…
Collider: How did this show come about for you? Did they approach you about this role because of your past relationship with TNT?
ERIC McCORMACK: It was a happy accident, really. I have a great relationship with Michael Wright, who runs TNT, and he was on the look-out for something. When Ken Biller, who created the show, went to TNT, he said, “We’re thinking a little out of the box here. We’re thinking somebody like Eric McCormack.” So, there was that. And then, when I read it, I was aware that it was vaguely a crime-solving show, but with the first page, when I’m lecturing in the university about neuroscience, I was like, “Oh boy, I love this! Who else is doing that? We have some high school shows, but we don’t have a university show out there, where the hero is an academic and an intellectual and, in addition, a schizophrenic who is someone that can educate us a bit about the disease, at the same time, because he’s the biggest brain in the room.
Did you respond to the fact that this is not your typical procedural?
McCORMACK: Yes. In this case, procedure is the last thing that Daniel Pierce is going to follow. He’s probably going to screw procedure up, more than anything. He’s not there to look at forensics or have anything to do with guns, and he doesn’t bust anybody. He’s simply looking at it from the point of view of a puzzle and, inevitably, because of his expertise, that creates some great twists and turns in this show.
Having just done another show for TNT prior to this, that ended up not going as well as one hopes when you sign on for a TV show, did you have any hesitation about doing another show, or does that type of thing just roll off of you because you know that happens more often than not, in this business?
McCORMACK: I love everybody at TNT, and they were totally behind Trust Me. I totally loved that show. I feel like it should have had more life. I just don’t think it was the right show for them, at the time, and lots of good shows don’t make it past the second season, for various reasons. I know where TNT’s sweet spot is, and when I read Perception, I thought, “This is a chance to play a fascinating, fun, challenging character, but still within the realm of something that will sit very well with The Closer and Major Crimes, and the other shows there.”
So the answer to the musical question is, “Yeps.” Surprise.
Oh, If you go to the article you’ll see that the next question is, in effect, “What was it like to play someone so much smarter than you?” As though actors never did that. Which is crazy because, let’s face it, if actors couldn’t play characters smarter than they are, well, we’d have to have mice or carrots playing all the roles instead.
Still love Collider.Com though. It’s a very interestingsexyinformative thorough site.
EDITED TO ADD: munchman watched the PERCEPTION pilot last night and was impressed by how the show grafted A BEAUTIFUL MIND onto typical police procedural conventions. So fresh! So original! So Glen A. Larson circa 1980!
And, just between us, I loves a schizophrenic hero as much as the next guy, but at least in the film Russell Crowe got messed up. This Eric McCormack dude, though, has the most perfect beard stubble ever seen on or by mortal man. It totally humiliates that of House, The Man With No Name, and whatever the hell Don Johnson’s MIAMI VICE character was called. Great call, Eric. Stay pretty, man.
Johnny Depp is going to be a real cut-up on Family Guy: The film star will return to his role from Tim Burton’s Edward Scissorhands in an upcoming episode of the animated Fox comedy, EW has learned.
In a brief cameo, Depp voices Edward in one of the show’s cutaway gags. It did take a second for the actor — who watches the show with his kids — to get back into that vulnerable character from two decades ago, though. “When he was in the booth, he said that he felt like he hadn’t done that voice since he did it in front of the camera,” notes Family Guy executive producer Mark Hentemann. “He was able to snap right back into Edward Scissorhands once we pulled up a clip from the movie.” Adds Hentemann: “He was amazing — and demonstrated extraordinary patience with all the fawning women in our office who swarmed him.”
Everything you ever needed to know about comedy
by Ken Levine
Dan O’Shannon is one of the executive producers of MODERN FAMILY. He was a showrunner of FRASIER and an executive producer of CHEERS. The man knows funny. Recently he wrote a terrific book called WHAT ARE YOU LAUGHING AT? A COMPREHENSIVE GUIDE TO THE COMEDIC EVENT. Somehow he managed to explain comedy, which to me is harder than trying to describe the color red over the radio. As insane as it is to plug someone else’s book when I’m still shamelessly hawking mine (available here — go buy it), I really recommend Dan’s book (which you can order here). Recently, I had the chance to talk to him about it.
What possessed you to write this book?
Like many who actually create comedy, I occasionally see books and articles that academics write about humor. And like many who create it, I find most of it tone deaf. It’s like reading about bicycle riding from someone who’s never been on a bike. One day I asked myself how I would define and analyze comedy, if I was so smart?
It seems like such an enormous undertaking. Explaining the world might’ve been easier. How did you go about organizing this bad boy?
A lot of people start right in analyzing joke structures. I chose to analyze the comedic event, which includes the study of context, as well as structure, content, and transmission. And I relentlessly asked myself questions: What changes in social context or delivery might enhance or inhibit the laugh? How does being part of an audience make you laugh differently than when you’re alone? How does being in the presence of the source of the comedy enhance or inhibit response? How can a joke be funnier through repetition and then stop being funny and then start being funny? Why do things cease to be funny? Four years of stand-up followed by twenty-seven years in sitcoms provided me with thousands and thousands of hours of experimentation.